SEPTEMBER,  1905        CLAUDE  LORRAIN        PRICE,  15  CENTS 

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CLAUDE  LORRAIN 


PART  69  VOLUME  6 


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Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


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MASTERS    IN    ART 


The  numbers  of  Masters  in  Art '  which  have  already  appeared 
in  1905  are : 

Part6i,  JANUARY WATTS 

Part  62,  FEBRUARY        .         .         .      PALMA    VECCHIO 
PART63,  MARCH       .         .    MADAME    VIGEE   LE  BRUN 

PART64,  APRIL MANTEGNA 

PART65,  MAY  CHARDIN 

Part  66,  JUNE BENOZZO  GOZZOLI 

Part67,JULY JANSTEEN 

Part68,  AUGUST MEMLINC 

Part  69,  SEPTEMBER      .         .         .    CLAUDE  LORRAIN 

PART     70,     THE     ISSUE     FOR 

(Btto'btx 

WILL  TREAT  OF 

17errocc|)io 


NUMBERS   ISSUED   IN   PREVIOUS  VOLUMES 
OF  'MASTERS  IN  ART' 

VOL.  1.  VOL.  2. 

Part    i.— Van  DYCK  Part  ij.— RUBENS 

Part    z.— TITIAN  Part  14.— DA  VINCI 

Part    j.— VELASQUEZ  Part  15— d'uRER 

Part    4.— HOLBEIN  Part  16.  — MICHELANGELO* 

Part    5.— BOTTICELLI  Part  17.  — Ml  CHELANGELOf 

Part    6.— REMBRANDT  Part  18.— COROT 

Part    7.— REYNOLDS  Part  19.— BURNE-JONES 

Part    8.— MILLE  I"  Part  20.— TER   BORCM 

Part   9.— GIO.  BELLINI  Part  21.— DELLA   ROBBIA 

PartIo.— MURILLO  Part  22.— del  SARTO 

Part  ii.— HALS  Part  2}.— GAINSBOROUGH 

Part  12.— RAPHAEL  Part  24— CORREGGIO 
*ScuI/>turt  ^Painting 

VOL.  3.  VOL.  4. 

Part  25. —PHIDIAS  Part  37.— ROMNEY 

PART26.  — PERUGINO  Part  j8.— FRA  ANGELICO 

Part  27.  — HOLBEIN  g  Part  39.— WATTEAU 

Part  28. —TINTORETTO  Part  40. -RAPHAEL* 

Part  29.  — P.  deHOOCH  Part  41  — DONATELLO 

Part  JO.— NATTIER  Part  42.— GERARD  DOU 

Part  31.— PAUL  POTTER  Part  43.— CARPACCIO 

Part  32.— GIOTTO  Part  44.— ROSA  BONHEUR 

Part  33.- PRAXITELES  Part  4;.— GUIDO  RENI 

Part  34.— HOGARTH  Part  46.— P.  dhCHAVANNES 

Part  35.— TURNER  Part  47.— GIORGIONE 

Part  j6.— LUINI  Part  48.— ROSSETTl 
g  Drawings         *  Frescos 

VOL.  5. 

Part  49,  JANUARY  .         .         FRA  BARTOLOMMEO 

Part  50,  FEBRUARY GREUZE 

Part  Ji,  MARCH      .         .         .     DURER'S  ENGRAVINGS 

Part  52,  APRIL LOTTO 

Part  S3,  MAY LANDSEER 

Part  54,  JUNE  .         .         .         VERMEER  OF  DELFT 

Part  55,  JULY PINTORICiJHIO 

Part  56,  AUGUST   .         .    THE   BROTHERS  VAN   EYCK 
Part  57,  SEPTEMBKR     ....  MEISSONIER 

Part  58,  OCTOBER BARYE 

Part  59,  NOVEMBER VERONESE 

Part6o,  DECEMBER COPLEY 


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NEW  SPECIAL  NUMBER  OF  THE  INTERNATIONAL  STUDIO 

ART      IN      PHOTOGRAPHY 

With  Selected  Examples  of  European  and  American  Work 

IT  has  been  a  special  aim  of  THE  STUDIO  from  its  commencement  to  show  that  art  may  be  present  in  practically 
everything  produced  by  human  skill.  Pliotography  does  not  vie  with  painting  any  more  than  etching  or  engraving 
does.    It  has  an  art  of  its  own,  just  as  every  other  form  of  pictorial  representation  has. 

In  the  selection  of  photographs  which  will  appear  in  the  above  Special  Number,  particular  attention  has  been  given 
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point  of  view,  and  in  order  to  render  the  collection  as  comprehensive  as  possible  he  has  not  confined  himself  to  any  one 
particular  school  or  style.  Examples  have  been  selected  from  the  principal  countries  of  Europe  and  from  America,  and 
the  Editor  has  been  successful  in  securing  the  co-operation  of  most  of  those  who  have  taken  a  leading  part  in  the  photo- 
graphic movement. 

All  the  distinguished  foreign  amiteurs  will  be  represented,  and  among  the  numerous  Americans  included  will  be  such 
well-known  names  as:    Gertrude  Kasebier,  Eduard  J.  Steichen,  Alfred  Stieglitz,  F.  Sutcliffe,  Mrs.  Watson-Schutze,  etc. 

In  the  production  of  these  photographs  an  effort  is  being  made  to  present  them  in  a  manner  altogether  superior  to 
that  in  vogue  in  works  on  photography.  A  variety  of  different  processes  will  be  employed,  and  each  photograph  will  be 
reproduced  in  the  manner  best  suitable  to  its  particular  subject.  Again,  each  one  will  be  separately  mounted  on  a  page  by 
itself,  and  it  is  confidently  anticipated  that  the  work  will  be  a  highly  attractive  one  from  all  points  of  view.  Amongst 
other  features,  there  will  be  some  examples  of  colour  photographs  taken  direct  from  nature. 

The  essays  on  the  British,  French,  and  Belgian  sections  will  be  by  Mr.  Clive  Holland;  that  on  the  American  section, 
by  Mr.  Chas.  H.  Caffin;  on  the  German  and  Austro-Hungarian  section,  by  Mr.  A.  Horsley  Hinton;  and  on  the  Italian 
section,  by  Dr.  Enrico  Thovez. 

This  Special  Number  will  be  of  the  same  format  as  previous  Special  Numbers  of  THE  STUDIO,  and  it  cannot  be 
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Clattbe  Horrain 


FRENCH     SCHOO 


>\;  T*iyt'*»*  "2  S,«f  •'"'■-  -•'■ 


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POHTHAIT  OF  CLAUDE  LORRAIN  BT  JOACHIM  VOX  SANDRAHT 

Tn  his  will  Claude  left  a  copy  of  a  portrait  of  himself  to  the  Church  of  St.  Luke. 
Portrait  and  copy  have  both  disappeared.  The  only  likeness  of  the  artist  which  has 
any  claim  to  authenticity  is  the  engraving  by  Sandrart  in  his  "Academia  Nobilissimse 
Artis  Pictoriae,"  published  at  Nuremberg  in  1683. 

[ses] 


MASTERS    IN    ART 


atlunXit  ^tlUt 


CALLED 


€i^ntit  %oxvKin 


BORN    16  00:     DIED    1682 
FRENCH     SCHOOL 


CLOSE  to  the  northern  boundary  of  the  modern  French  department  of 
the  Vosges,  some  half-mile  distant  from  the  right  bank  of  the  Moselle, 
and  hard  by  the  Forest  of  Charmes,  is  the  little  village  of  Chamagne.  In  this 
rural  hamlet,  once  the  chief  place  in  the  seignory  of  the  same  name  in  the  old 
Duchy  of  Lorraine,  Claude  Gellee — or,to  give  him  the  name,  Claude  le  Lor- 
rain,  which  he  received  from  his  native  country,  although  not  a  sixth  part  of 
his  long  life  w^as  spent  in  it — first  saw  the  light  in  the  year  1600.  The  exact 
place  of  hi^  birth  can  still  be  pointed  out.  Towards  the  end  of  the  village 
street,  where  it  approaches  the  meadows  which  form  the  common  grazing- 
ground,  is  an  old  house  which  bears  on  its  walls  a  tablet,  commemorating  that 
therein  the  great  landscape-painter  of  the  French  school  drew  his  first  breath. 
Beyond  the  fact  that  his  parents,  Jean  Gellee  and  Anne  Padose,  were  in 
humble  circumstances,  the  exact  nature  of  the  rustic  occupation  which  kept 
the  wolf  from  their  door  is  now  unknown.  They  had  a  large  family,  of  whom 
five  were  sons:  Jean,  Dominique,  Claude,  Denis,  and  Michel. 

Thus  far  the  brief  accounts  of  Claude's  birth  and  parentage  present  no 
difficulty.  Concerning  the  events  of  his  boyhood  and  youth,  however,  his 
biographers  differ  considerably.  Their  information  is  derived  from  two 
sources.  One  of  these  is  Joachim  von  Sandrart,  a  Gernian  painter,  engraver, 
and  writer  on  art,  who  resided  some  years  at  Rome,  where  he  became  intimate 
with  Claude.  His  reminiscences  of  him  are  contained  in  his  'Teutsche  Acad- 
emie,' of  which  a  Latin  translation,  entitled 'Academia  Nobilissimae  Artis  Pic- 
toriae,'  was  published  in  1683.  The  other  authority  is  Filippo  Baldinucci,  a 
Florentine  artist,  whose  account  was  derived  from  Jean  Gellee  and  the  Abbe 
Joseph  Gellee,  the  grand-nephew  of  the  painter,  and  is  included  in  his  'Notizie 
de'  professori  del  disegno.' 

According  to  Sandrart,  Claude  was  a  dull  boy,  a  very  dull  boy — scientia 

[359] 


24  MASTERSINART 

valde  medtocri  —  and  learned  little  or  nothing  at  school — parum,  imo  nihil 
fere,  proficeret.  The  statement  is  borne  out  by  such  scraps  of  writing  as  Claude 
in  later  years  scrawled  on  the  backs  of  his  drawings.  In  these  short  notes  he 
jumbles  up  French,  ItaHan,  and  Latin;  he  spells  his  own  name  in  a  half-dozen 
different  ways,  so  much  so  that  in  his  will  he  has  to  record  the  correct  spelling 
of  it  as  Gellee;  and  in  his  attempt  to  spell  other  people's  names,  even  those  of 
his  best  friends,  he  goes  hopelessly  astray. 

Seeing  that  there  was  nothing  to  be  made  of  the  boy  as  a  scholar,  his  parents 
apprenticed  him  to  a  pastry-cook.  Later  Claude  set  off  with  some  of  his 
countrymen  for  Rome,  "whither,"  so  Sandrart  informs  us,  "the  cooks  and 
pie-makers  of  Lorraine  had  for  centuries  been  accustomed  to  repair." 

Thus  far  Sandrart.  Baldinucci's  narrative  differs.  Claude,  he  tells  us,  had 
lost  both  his  parents  by  the  time  he  was  twelve  years  old,  and  was  obliged  to 
cross  the  Rhine  and  seek  a  home  under  the  roof  of  his  eldest  brother,  Jean, 
who  had  set  up  at  Freiburg  as  a  wood  engraver  and  carver.  Here  Claude  re- 
mained twelve  months,  receiving  instruction  from  his  brother  in  the  elements 
of  drawing.  At  the  end  of  that  time  a  relative,  a  dealer  in  lace,  the  production 
of  which  was  then,  as  it  is  now,  an  important  industry  in  the  neighborhood  of 
Claude's  native  place,  passing  through  Freiburg,  on  his  way  to  Rome  with  his 
wares,  offered  to  take  the  boy  with  him.  In  Rome  Claude  found  a  lodging 
near  the  Pantheon,  and  continued  his  studies  as  best  he  could,  apparently 
unaided. 

Thrown  entirely  on  his  own  resources,  Claude  made  his  way  to  Naples,  at- 
tracted thither,  it  would  appear,  by  the  reputation  of  a  German  landscape- 
painter,  Gottfried  Waels,  with  whom  he  remained  two  years,  studying  archi- 
tecture, perspective,  and  color.  Then  he  returned  to  Rome,  where  he  was 
admitted  into  the  household  of  Agostino  Tassi,  from  whom  he  received 
board,  lodging,  and  "instruction  in  the  best  principles  of  art,"  in  return  for 
his  services  as  stable-boy,  color-grinder,  and  general  "slavey."  Such  is 
Baldinucci's  account.  The  only  point  of  real  importance  in  which  it  does  not 
tally  with  that  of  Sandrart  is  as  to  the  instruction  from  Waels. 

How  long  Claude  remained  under  Tassi's  roof  Sandrart  does  not  tell  us. 
Baldinucci  states  that  he  left  Rome  in  April,  1625,  and  began  a  series  of  wan- 
derings, which  lasted  over  two  years.  His  first  stage  was  the  Santa  Casa  of 
Loretto.  Thence  he  went  to  Venice;  then  through  Bavaria  to  his  native  village 
in  Lorraine.  This  short  account  given  by  Baldinucci  of  Claude's  journey  has 
been  amplified  by  later  biographers  and  adorned  with  picturesque  details. 
Knight  Payne,  for  example,  would  have  us  believe  that  the  young  painter 
spent  some  time  at  Harlaching,  a  little  village  near  Munich.  To  commemo- 
rate this  supposed  sojourn  of  Claude  at  Harlaching,  a  monument,  bearing  his 
portrait  and  an  inscription,  was  erected  in  1865  by  King  Ludwig  i.  of  Bavaria. 

From  Chamagne  Claude  repaired  to  Nancy,  the  capital  of  Lorraine  and 
seat  of  the  Ducal  Court,  a  court  famous  for  its  love  of  luxury  and  its  patronage 
of  the  arts.  Through  a  relative  who  resided  there,  Claude  was  fortunate  enough 
to  secure  an  introduction  to  Claude  Deruet  —  Dervent  in  Baldinucci's  text — 
painter-in-ordinary  to  the  reigning  duke. 

[360] 


CLAUDE     LORRAIN  25 

Shortly  after  Claude's  arrival  at  Nancy  Deruet  was  called  on  by  the  prior 
of  a  Carmelite  monastery,  erected  at  the  beginning  of  the  century,  to  ornament 
the  roof  of  the  newly  built  church  of  the  community.  On  this  task  Claude  was 
set  to  work,  along  with  Deruet's  other  assistants,  Claude's  share  in  the  work 
was,  according  to  Baldinucci,  restricted  to  the  architectural  ornaments.  Un- 
fortunately this  church  and  its  contents  were  destroyed  during  the  French 
Revolution.  This  work  proved  distasteful  to  Claude,  and,  having  already 
tasted  the  joys  of  life  under  a  southern  sky,  he  quitted  the  uncongenial  service 
of  Deruet,  left  Nancy  and  his  native  country,  which  he  was  destined  never  to 
see  again,  and  in  the  summer  of  1627  set  his  face  southward,  and  made  his  way 
toward  Italy,  choosing  this  time  the  most  rapid  route,  namely,  by  Lyons  to 
Marseilles.  Here,  while  waiting  for  a  ship  to  take  him  to  Italy — so  at  least 
his  later  biographers  relate — he  was  stricken  by  an  attack  of  fever,  which 
well-nigh  proved  fatal.  On  his  recovery  he  found  that  he  had  been  robbed  of 
nearly  all  he  possessed.  After  a  series  of  adventures  he  finally  reached  Rome 
by  way  of  Civita  Vecchia  on  St.  Luke's  Day  1627. 

To  read  the  account  of  his  life  given  by  Baldinucci,  one  would  be  tempted 
to  believe  that  Claude  at  once  sprang  into  notice  and  sold  his  works  to  wealthy 
patrons,  both  Italian  and  foreign.  Sandrart,  however,  who  arriveji  about  this 
time  in  Rome,  and  made  Claude's  acquaintance  there,  gives  us  an  account 
from  which  we  gather  that  the  next  few  years  of  Claude's  life  were  years  of 
constant  study,  and  that  the  results  of  this  study,  though  in  the  end  they 
brought  both  fame  and  riches,  were  at  first  of  small  pecuniary  profit. 

"Claude" — it  is  Sandrart  who  speaks — "was  indefatigable  in  his  en- 
deavor to  get  a  real  solid  basis  of  art-training,  to  penetrate  into  the  inmost 
secrets  of  nature."  Day  after  day  he  would  be  up  before  dawn  and  far  out 
into  the  Campagna.  Heedless  of  fatigue,  he  would  stay  there  till  after  night- 
fall, noting  every  phase  of  dawn,  straining  to  seize  the  tints  of  sunrise,  sunset, 
and  the  gloaming  hours,  tints  which  he  would  endeavor  to  match  with  his 
colors  on  his  palette.  Then  in  his  studio  or  garret  he  would  set  to  work  with 
the  palette  thus  prepared,  and  endeavor  to  produce  a  transcript  of  the  eflPects 
which  he  had  seen,  and  which  he  succeeded  in  rendering  "with  a  veracity 
which  no  painter  before  him  has  ever  obtained." 

During  this  period  of  study,  and  before  he  had  succeeded  in  producing 
those  landscapes  which  the  connoisseurs  of  his  day  sought  so  eagerly,  Claude 
executed  several  frescos  which  are  referred  to  by  his  biographers  with  almost 
unstinted  praise.  They  were  landscape  subjects,  of  realistic  treatment,  but 
have  been  either  destroyed  or  repainted. 

When  not  engaged  in  studying  in  the  open  air  or  painting  frescos  for  his 
livelihood,  Claude  would  spend  his  time  drawing  from  the  life,  or  from  statues 
at  the  Academy.  In  this  pursuit  he  persevered  diligently,  even  to  his  latest 
years.  His  appHcation,  so  far  from  being  profitable  to  him,  was  noxious.  The 
fact  is  that  Claude  did  possess  a  certain  facility  for  indicating  figures,  as  is 
shown  by  many  of  his  drawings.  When,  however,  he  set  himself  to  elaborate 
these  sketches,  to  put  in  all  the  muscles  which  the  Academic  teaching  of  the 
day  insisted  upon,  he  produced  very  painful  results.    In  his  pictures  this  defect 

[361] 


26  MASTERSINART 

asserts  itself  even  more  plainly.  The  figures  are  nearly  always  painted  with 
all  the  conscientiousness  of  incapacity,  and  with  a  heavy  touch  which  is  en- 
tirely out  of  harmony  with  the  treatment  of  the  rest  of  the  canvas;  the  atmos- 
phere which  envelops  the  landscape  seems,  as  it  approaches  the  figures,  to  be- 
come suddenly  exhausted;  sometimes  the  sun  forbears  to  cast  a  shadow! 

Of  his  weakness  in  this  branch  of  art  the  painter  was  fully  conscious.  He 
used  to  say  that  he  sold  the  landscapes,  but  gave  the  figures. 

Following  a  custom  common  in  his  century,  Claude  had  frequently  recourse 
to  other  artists  for  the  execution  of  the  figures  in  his  pictures,  but  he  always 
himself  carefully  indicated  their  movements  and  their  place  in  the  composition. 
Among  the  painters  from  whom  he  derived  assistance  in  this  branch  were 
Francesco  Allegrini,  Filippo  Lauri,  Jan  Miels,  and  one,  perhaps  both,  of  the 
brothers  Courtois.  It  was,  however,  in  his  middle  and  later  periods  that  Claude 
had  recourse  to  these  collaborators;  in  his  earlier  works  the  figures  are  nearly 
always  his  own,  occasionally  by  Allegrini. 

A  hard  worker,  both  from  love  of  his  art  and  from  the  necessity  of  gaining 
his  daily  bread,  the  young  Lorrain  had  little  leisure  or  inclination  to  mingle  in 
society.  With  the  exception  of  Sandrart,  he  does  not  appear  to  have  had  any 
intimate  friends  among  the  cosmopolitan  colony  of  artists  in  Rome.  The  most 
prominent  French  painter  then  residing  at  Rome  was  Nicolas  Poussin,  an 
artist  with  the  general  bent  of  whose  genius  Claude  must  have  had  much  sym- 
pathy. The  character  of  the  two  men,  however,  was  entirely  diflFerent — 
Claude,  a  rustic  by  birth  and  breeding,  illiterate,  simple;  Poussin,  an  aristo- 
crat, a  scholar,  a  would-be-philosopher,  not  to  say  a  pedant.  It  would  only 
have  been  by  the  law  of  contraries  that  these  two  men  could  have  been  friends. 

"Absorbed  in  his  work,  Claude,"  says  De  Piles,  "never  visited  any  one."^ 
"Of  a  kind  and  sincere  nature,"  says  Sandrart,  "he  sought  no  other  pleasure 
than  that  which  came  to  him  from  his  art."  Apart  from  the  intrigue  for  pat- 
ronage, apart  from  the  drinking  and  brawling  in  taverns  in  which  so  many  of 
his  contemporaries  passed  a  large  portion  of  their  lives,  Claude  led  a  serene, 
secluded  existence,  his  days  measured  by  the  uprising  and  the  setting  of  the 
sun,  his  soul  wrapped  in  the  contemplation  of  nature,  his  heart  in  his  work. 

How  and  when  Fame  first  came  to  Claude  we  cannot  exactly  determine.  It 
would  appear  from  his  account  that  before  Sandrart  left  Rome  Claude's  repu- 
tation was  firmly  estabHshed.  Sebastian  Bourdon,  a  French  painter  remark- 
able for  his  wandering  and  adventurous  career,  arrived  in  Rome  about  1634. 
Having  seen  in  Claude's  studio  a  half-finished  landscape,  on  which  the  artist 
had  been  engaged  for  a  fortnight.  Bourdon  set  to  work,  and  in  eight  days  pro- 
duced a  finished  copy  of  it,  executed  with  such  mcestria  that  it  was  hailed  by 
the  connoisseurs  of  Rome  as  a  masterpiece  of  Claude.  Claude  had  the  curi- 
osity to  go  and  see  the  forgery,  and  was  so  enraged  at  it  that  he  would  have 
taken  a  summary  vengeance  had  not  Bourdon  discreetly  kept  out  of  his  way. 
Bourdon  would  scarcely  have  been  at  the  trouble  of  counterfeiting  the  work 
of  a  man  who  had  not  already  won  a  reputation.  We  also  know  that  before 
Sandrart  left  Rome  Claude  had  sent  for  a  nephew,  Jean  Gellee,  to  whom  he 
entrusted  the  whole  management  of  his  household,  even  the  purchase  of  hist 

[362] 


CLAUDELORRAIN  27 

colors,  in  order  to  have  his  time  quite  free.    From  all  this  we  may  gather  that 
before  1635  Claude  had  an  established  reputation  and  clientele. 

One  of  Claude's  earliest  patrons  would  seem  to  have  been  Philippe  de 
Bethune,  Comte  de  Selles  et  de  Charost,  who  in  1627  was  for  the  second  time 
appointed  ambassador  of  France  at  the  Papal  Court.  For  him  Claude  painted 
two  fine  canvases  now  in  the  Louvre,  one  representing  a  seaport  with  a  classic 
arch  and  a  long  vista  of  marble  palaces,  bathed  in  the  golden  light  of  the  west- 
ering sun,  the  other  a  view  of  the  Campo  Vaccino,  or  Forum. 

It  was  apparently  about  this  time  that  Claude  came  under  the  notice  and 
the  protection  of  Cardinal  Guido  Bentivoglio,  one  of  the  most  distinguished 
prelates  of  the  Roman  Court,  and  one  of  the  ablest  diplomatists  of  the  day. 
For  this  influential  patron  Claude  painted  two  landscapes.  This  commission 
proved  the  turning-point  in  the  artist's  career.  The  Cardinal,  who  was  an  old 
and  intimate  friend  of  the  then  Pope  Urban  viii.,  brought  these  works  under 
the  notice  of  the  pontiff,  and  aroused  his  interest  in  the  young  painter. 

When  the  Pope  showed  the  example,  the  Cardinals  and  Monsignori  of  his 
court  hastened  to  follow  it.  Among  the  great  prelates  who  patronized  Claude 
in  the  earlier  part  of  his  life  were  Cardinal  Rospigliosi  (afterwards  Pope,  under 
the  name  of  Clement  ix.),  Cardinal  Medici,  Cardinal  Faustus  Poli,  and  Cardi- 
nal Angelo  Giorio.  For  the  last-named  prelate  Claude  painted  no  less  than 
seven  canvases:  three  landscapes,  three  seaports,  and  a  figure-subject. 

Claude's  reputation  was  not  limited  to  Rome.  Orders  soon  began  to  come 
to  him  from  beyond  the  Alps.  As  early  as  1644  we  find  him  painting  a  picture 
for  England,  the  exquisite  little  landscape,  introducing  the  fable  of  Echo  and 
Narcissus,  which  now  hangs  in  the  National  Gallery,  Many  of  his  works  at 
this  period  were  executed,  as  the  'Liber  Veritatis'  shows,  "pour  Paris,"  or  for 
French  patrons.  Amongst  them  was  M.  Passart,  the  mditre  des  comptes,  who 
was  also  the  patron  of  Nicolas  Poussin.  For  this  amateur  Claude  painted  two 
fine  landscapes,  one  now  in  the  museum  at  Grenoble,  the  other  at  Windsor. 
Both  represent  views  of  Tivoli,  and  are  remarkable  as  being  direct  renderings 
of  actual  scenes  rather  than  classical  compositions. 

In  1644  Claude  lost  his  two  most  influential  patrons,  Cardinal  Bentivoglio 
and  Urban  viii.,  who  died  within  a  few  months  of  each  other.  The  conclave 
held  in  th^  same  year  resulted  in  the  election  of  Cardinal  Giambattista  Pamfili, 
who  now  assumed  the  tiara  under  the  title  of  Innocent  x.  These  changes  do 
not  appear  to  have  affected  Claude  prejudicially.  On  the  contrary,  he  gained 
by  them  a  new  patron  in  the  person  of  the  Pope's  nephew.  Prince  Camillo 
Pamfili.  For  him  Claude  painted  four  pictures.  Three  of  these,  a  landscape 
with  'Mercury  Stealing  the  Cattle  of  Admetus,'  'The  Mill,'  and  'The  Tem- 
ple of  Apollo  at  Delos' — the  two  latter  perhaps  Claude's  most  celebrated 
pictures — still  form  part  of  the  Doria  Collection  at  Rome.  The  fourth  pic- 
ture of  this  set,' The  Ford,'  is  in  the  National  Gallery  at  Pesth. 

For  the  Due  de  Bouillon  Claude  painted  a  replica,  with  some  variations,  of 
'The  Mill,'  or,  as  it  is  otherwise  called,  the  'Marriage  of  Isaac  and  Rebecca,' 
and  another  picture,  a  seaport,  entitled  the  'Embarkation  of  the  Queen  of 
Sheba.' 

[363] 


28  MASTERSINART 

Claude  had  now  achieved  a  world-wide  celebrity.  The  crowning  honor 
came  to  him  in  a  commission  from  Philip  iv.  of  Spain.  It  has  been  surmised 
that  the  order  came  through  the  agency  of  Velasquez,  for  the  great  Spanish 
painter  had  been  sent  to  Italy  in  1649  ^^^^  2  roving  commission  to  purchase 
works  of  art  for  his  royal  patron. 

The  order  consisted,  according  to  Baldinucci,  of  eight  works:  four  subjects 
from  the  Old  Testament,  four  from  the  New.  All  these,  with  the  addition  of 
two  from  the  collection  of  Philip  v.,  are  now  in  the  Prado.  Time  and  the 
climate  of  Madrid  have  wrought  havoc  with  several  of  the  number.  Those 
which  have  escaped  unharmed  show  Claude  at  his  best. 

It  was  about  the  time  of  this  commission,  according  to  Baldinucci,  that 
Claude,  annoyed  by  the  constant  forgeries  of  his  work,  determined  to  form  an 
album  containing  sketches  of  all  works  produced  by  him.  Baldinucci  calls 
this  book  the  'Libro  d'Invenzioni'  or  'Libro  di  Verita';  in  England  it  is  better 
known  by  the  Latin  title  'Liber  Veritatis.' 

In  calling  the  'Liber  Veritatis'  a  monument  to  Claude's  memory  we  are 
using  no  figure  of  speech.  In  this  wonderful  book  we  have  an  epitome  of  the 
artist's  life  and  work,  an  epitome  written  and  illustrated  by  his  own  hand.  It 
is  a  collection  of  two  hundred  drawings — not,  as  the  title  might  lead  us  to  ex- 
pect, studies  from  nature,  but  sketches  from  or  perhaps  for  the  artist's  pictures. 

"Poor  Claude,"  says  Baldinucci,  "simple-minded  as  he  was  by  nature,  not 
knowing  whom  to  guard  against  among  the  many  who  frequented  his  room, 
nor  what  precautions  to  take,  seeing  that  every  day  similar  pictures  were 
brought  to  his  house  that  he  might  pronounce  whether  they  were  by  his  hand, 
resolved  to  make  a  book,  which  I  saw  with  great  pleasure  and  admiration,  he 
himself  showing  it  to  me  in  his  own  house  in  Rome;  and  in  this  book  he  began 
to  copy  the  composition  (/«i'^«z/o«^)  of  the  works  which  he  executed,  expressing 
in  them  with  a  truly  masterly  touch  every  smallest  detail  of  the  picture  itself, 
making  a  note  also  of  the  person  for  whom  it  had  been  painted,  and,  if  I  re- 
member rightly,  the  sum  he  had  received  for  it." 

The  motive  assigned  to  the  artist  by  Baldinucci  for  the  composition  of  the 
'Liber  Veritatis'  has  been  frequently  called  in  question.  Were  the  drawings 
studies  for  or  sketches  from  the  pictures  .?  The  generally  received  opinion  is 
that  they  were  made  from  his  finished  pictures,  as  is  asserted  by  Baldinucci. 

The  'Liber  Veritatis' was  to  Claude  much  what  the  fly-leaf  of  the  family 
Bible  was  to  many  families  of  the  last  generation — a  place  to  register  the 
birth  of  each  new  member  and  note  any  important  events  of  after  life.  To 
Claude  his  pictures  were  his  children. 

The  first  impression  which  we  receive  as  we  turn  over  the  pages  of  the  '  Liber 
Veritatis'  is  that  of  the  intense  artificiality  of  the  art  that  it  records.  It  is,  as  it 
were,  a  man  speaking  Latin  instead  of  his  own  mother-tongue.  Classic  ruins, 
seaports,  pasture  lands,  herds  and  herdsmen,  piping  shepherds,  dancing 
peasants,  gods,  saints,  banditti,  sportsmen,  all  seem  to  belong  to  an  unreal 
world — a  world  where  things  arrange  themselves,  or  rather  are  evidently 
arranged  by  the  artist,  with  a  view  to  certain  preconceived  ideas  about  com- 
position.   The  harmony  of  line,  the  unity  of  ensemble,  aimed  at  by  the  artist, 

[364] 


CLAUDE     LORRAIN  29 

and  nearly  always  attained,  aggravate  the  eye  of  a  generation  taught  to  shun 
in  landscape-art  the  well-balanced  composition  which  delighted  the  seven- 
teenth century.  You  have  but  to  surrender  yourself  to  the  charm  of  this  un- 
real world,  however,  to  lose  sight  of  its  unreality  and  live  in  it  as  one  lives  in  a 
dream. 

Side  by  side  with  their  poetic  charm  the  drawings  possess  technical  qualities 
of  a  high  order.  They  express  the  most  difficult  effects  of  light  and  atmos- 
phere with  a  simplicity  and  a  directness  which  it  would  be  difficult  to  surpass. 
The  two  hundred  drawings  are  executed  with  pen  or  pencil,  washed  with 
bistre  or  Indian  ink,  the  high  lights  touched  in  with  white. 

The  value  which  the  artist  set  on  the  'Liber  Veritatis'  is  shown  by  the  spe- 
cial mention  which  he  makes  of  it  in  his  will;  and  his  wishes  were  strictly  ad- 
hered to.  The  'Liber  Veritatis'  remained  for  some  time  an  heirloom  in  the 
Gellee  family.  About  1770  it  was  purchased  by  the  then  Duke  of  Devonshire, 
and  since  then  has  remained  in  the  possession  of  the  Cavendish  family  in  that 
great  treasure-house  of  art,  Chatsworth. 

Besides  the  drawings  contained  in  the  'Liber  Veritatis,'  and  numerous 
others  still  preserved  in  public  and  private  collections,  there  are  extant  some 
forty-four  etchings  by  Claude.  From  the  dates  which  some  of  them  contain 
it  would  appear  that  the  artist  devoted  himself  to  etching  at  two  distinct 
periods,  between  1630  and  1637  and  in  1662  and  1663.  Claude's  etchings 
are  of  unequal  merit,  but  in  his  best  work  he  attains  a  delicacy  and  tender- 
ness which  few  other  etchers  of  any  period  have  equaled,  none  surpassed. 

The  next  personage  of  importance  for  whom  Claude  worked  was  the  son  of 
the  Comte  de  Brienne,  Secretary  of  State  to  Louis  xiii.,  Henri  Louis  de 
Lomenie,  for  whom — or  perhaps  through  him  for  Louis  xiii.  —  Claude 
painted  the  two  curious  little  oval  pictures  now  in  the  Louvre,  representing 
the  siege  of  La  Rochelle  and  the  forcing  of  the  pass  of  Susa,  the  figures  in 
which  are  attributed  to  one  of  the  brothers  Courtois,  probably  Jacques.  Both 
are  painted  on  copper  plated  with  silver,  a  new  invention  about  that  time. 

In  1653  Claude  painted  for  Signor  Cardello  the  big  picture  'The  Worship 
of  the  Golden  Calf,'  now  in  Grosvenor  House. 

In  1655  Innocent  x.  died,  and  was  succeeded  by  Alexander  vii.,  who  de- 
voted himself  to  the  patronage  of  men  of  letters,  architects,  and  artists.  Among 
the  last-named  was  Claude,  who  painted  for  him  two  pictures.  One  of  these 
represents  'The  Rape  of  Europa,'  apparently  a  favorite  subject  with  the  artist, 
for  he  has  treated  it  in  three  other  canvases,  in  an  etching  dated  1634,  and  in  a 
finished  sketch  dated  1670,  in  the  British  Museum.  The  other  is  a  landscape 
known  as  'The  Battle  of  the  Bridge,'  from  the  bridge  covered  with  combatants 
which  forms  the  foreground.  Both  these  pictures  are  now  in  the  gallery  of 
Prince  Youssoupoff  in  Russia.  For  one  of  the  Pope's  nephews,  Don  Camillo, 
the  splendid  palace  in  the  Piazza  Colonna  was  built.  For  this  magnificent 
abode  Claude  painted  in  1658  the  picture  now  in  the  National  Gallery,  vari- 
ously known  as  'David  at  the  Cave  of  Adullam'  and  'Sinon  Brought  before 
Priam.'  For  the  grand  simplicity  of  composition  and  for  the  rendering  of  at- 
mosphere this  canvas  ranks  as  one  of  the  artist's  best. 

[365] 


30  MASTERS    IN    ART 

The  year  following  the  election  of  Alexander  vii.  was  marked  by  a  visitation 
of  the  plague  which  decimated  Rome.  Many  fled  the  city.  Claude  and  Poussin 
remained,  painting  on  serenely.  Among  the  three  pictures  mentioned  in  the 
'Liber  Veritatis'  under  this  date,  one,  a  landscape  with  'Jacob  Bargaining  for 
Rachel,'  remarkable  for  a  peculiar  silvery  quality  of  light,  deserves  special 
mention.    It  is  now  one  of  the  chief  treasures  of  Petworth. 

It  would  be  impossible  within  the  limits  of  our  space  to  enumerate  all 
Claude's  works  during  the  next  few  years.  The  artist,  if  he  was  a  slow  worker, 
was  an  assiduous  one,  sometimes  producing  as  many  as  five  pictures  in  one 
year.   The  whole  number  credited  to  him  in  his  long  life  is  about  four  hundred. 

Among  the  principal  pictures  of  this  period  we  may  mention  the  'Metamor- 
phosis of  the  Apuleian  Shepherd'  painted  for  M.  Delagarde  in  1657,  now  in 
the  Bridgewater  Collection,  a  combination  of  landscape  and  marine  with  fig- 
ures of  Polyphemus,  Acis,  and  Galatea  for  the  same  patron,  now  in  the  Dres- 
den Gallery,  a  very  fine  '  Flight  into  Eygpt,'  painted  for  Antwerp,  now  in  the 
Hermitage,  and  'The  Decline  of  the  Roman  Empire,'  now  in  Grosvenor 
House. 

Fame  and  wealth  had  come  to  Claude,  but  the  latter  years  of  his  life  were 
not  without  their  trials.  One  of  these  was  his  failing  health.  Baldinucci  in- 
forms us  that  from  the  age  of  forty  Claude  was  much  troubled  with  the  gout. 
To  a  man  of  Claude's  active  habits  such  a  malady  must  have  been  a  terrible 
burden.  No  more  walks  in  the  dewy  morning  or  the  misty  evening  over  the 
Campagna,  no  more  sunny  days  at  Tivoli  and  Subiaco;  the  poor  artist,  mewed 
up  in  his  studio,  would  be  obliged  to  have  recourse  to  his  souvenirs  and  to  his 
sketches  from  nature.  How  much  store  he  set  on  the  latter  we  know  from 
Baldinucci,  who  relates  that  Claude  painted  one  very  fine  picture  for  himself 
from  nature  at  Vigna  Madama,  near  Rome,  for  which  his  Holiness  Clement  ix. 
offered  him  as  many  gold  pieces  as  would  cover  it,  but  was  never  able  to  get  it 
out  of  his  hands;  for  he  asserted,  as  was  indeed  true,  that  "he  made  use  of  it 
every  day  to  see  the  variety  of  trees  and  foliage."  We  may  note  too  that  in  his 
will  Claude  expressly  qualifies  two  of  the  pictures  which  he  kept  in  his  house, 
'The  Flight  into  Egypt'  and  'The  Journey  to  Emmaus,'  as  "painted  on  the 
spot  by  my  hand"  and  "a  landscape  painted  from  nature."  From  this  will 
we  learn  that  in  February  of  1663  Claude  was  suffering  from  an  illness  which 
threatened  to  prove  fatal.  Believing  his  end  to  be  at  hand,  the  artist  set  about 
putting  his  affairs  in  order,  and  on  February  28,  1663,  made  his  will. 

His  illness  did  not,  however,  last  long,  for  we  find  an  entry  under  May  26, 
1663,  in  the  'Liber  Veritatis,'  referring  to  a  large  landscape  with  Mercury  and 
Bacchus  now  in  the  Collection  of  the  Duke  of  Devonshire.  The  artist's  energy 
was  unimpaired.  For  the  next  few  years  he  continued  to  produce  three  or  four 
pictures  every  year.  His  skill,  however,  was  not  always  on  a  level  with  his 
energy.  His  hand,  doubtless  under  the  influence  of  the  gout,  often  seems  to 
have  lost  its  old  cunning.  Side  by  side,  however,  with  canvases  which  show 
sad  evidences  of  advancing  age  we  find  others  in  which  the  artist's  genius  re- 
asserts itself  with  all  the  old  charm. 

The  chief  patron  of  Claude's  latter  years  was  the  Constable  of  Naples,  Don 

[366] 


CLAUDE     LORRAIN  31 

Filippo  Colonna,  head  of  the  great  Roman  family  of  that  name.  The  *  Liber 
Veritatis'  records  eight  pictures  painted  for  this  nobleman.  The  major  part 
of  these  pictures,  and  most  of  the  others  by  Claude,  which  once  adorned  the 
Palazzo  Colonna  in  Rome,  are  now  in  private  collections  in  England.  One, 
'Egeria  and  Her  Nymphs,'  is  in  the  Museum  of  Naples.  The  most  famous  is 
the  exquisite  landscape,  one  of  two  in  which  the  artist  has  introduced  the 
myth  of  Cupid  and  Psyche,  generally  known  as  'The  Enchanted  Castle,'  now 
in  the  possession  of  Lord  Wantage. 

Another  constant  patron  of  the  artist  at  this  period  was  Monseigneur  de 
Bourlemont.  Claude  painted  three  landscapes  and  a  marine  for  him:  'Moses 
and  the  Burning  Bush,'  'Cephalus  and  Procris,'  'Apollo  and  the  Cumasan 
Sybil,'  and  'Demosthenes  on  the  Seashore.'  Of  these  works,  one,  the  'Ceph- 
alus and  Procris,'  is  in  the  Doria  Palace  at  Rome;  the  others  have  found  their 
way  to  England. 

Commissions  continued  to  come  to  Claude  from  all  sides.  In  1668  he 
painted  two  landscapes  for  a  German  patron,  the  Count  Waldstein.  Both 
these  pictures  are  now  in  the  Pinakothek  at  Munich. 

In  June  of  1670  Claude  was  again  so  seriously  ill  that  on  the  twenty-fifth  of 
the  month  he  sent  for  a  notary  to  add  a  codicil  to  his  will;  but  he  was  not  long 
recovering  from  this  illness.  His  energy  was  still  unabated.  Not  so  his  powers. 
From  Baldinucci  we  know  that  the  artist  in  his  latter  years  was  able  to  work 
only  two  or  three  hours  a  day.  In  all  the  works  of  this  period  there  is  evidence 
of  his  failing  health.  It  becomes  more  marked  in  some  of  his  subsequent  pic- 
tures. The  cold  tone  which  pervades  many  of  them  is  totally  unlike  the  golden 
sunshine  of  Claude's  earlier  days. 

It  would  seem  that  ill  health  was  not  the  only  cross  which  cast  its  shadow 
over  the  latter  years  of  the  artist's  life.  Envy  and  ingratitude  conspired  to  dis- 
turb his  peace  of  mind.  He  continued  to  suffer  from  the  old  annoyance  of 
forgeries.  In  connection  with  this  Baldinucci  tells  a  curious  story.  Claude, 
mindful  perhaps  of  the  kindness  which  he  himself  had  received  at  Tassi's 
hands,  had  taken  into  his  household  a  poor  lame  and  deformed  boy,  Giovanni 
Domenico.  Domenico  passed  twenty-five  years  under  Claude's  roof,  and  is 
said  to  have  acquired  great  skill  in  painting  after  the  manner  of  his  master. 
Envious  tongues  whispered  that  Claude's  works  were  not  painted  by  his  own 
hand.  The  whispers  reached  Domenico's  ears,  and  so  inflated  him  with  vanity 
that,  having  quitted  Claude's  house,  he  claimed  remuneration  for  his  services 
during  the  years  that  he  had  been  the  artist's  pupil  and  protege.  Claude, 
valuing  his  peace  of  mind  more  than  his  money,  without  delay  or  demur 
caused  the  claim  to  be  paid  out  of  his  funds  in  the  Bank  of  Santo  Spirito. 
Domenico,  it  is  added,  died  very  shortly  after. 

Though  Claude's  powers  were  failing  him,  his  patrons,  new  and  old,  kept 
him  fully  occupied.  The  latest  date  which  occurs  in  the  'Liber  Veritatis'  is 
168 1,  in  which  year  Claude  painted  several  pictures,  among  them  one  for 
Constable  Colonna,  a  landscape,  'Parnassus  and  the  Muses.'  We  know,  how- 
ever, from  a  drawing  of 'The  Temple  of  Castor  and  Pollux'  dated  1682,  now 
in  the  British  Museum,  that  the  artist  worked  up  to  the  last  year  of  his  life. 

[367] 


32  MASTERS    IN    ART 

Despite  the  high  prices  paid  to  him  for  his  pictures,  Claude  died  relatively 
poor.  Baldinucci  states  that  owing  to  his  great  generosity  to  his  relatives  dur- 
ing his  life,  the  artist's  property  at  his  death  amounted  only  to  the  value  of 
10,000  scudi. 

Claude  vv^as  buried,  as  his  Mrill  directed,  in  the  Church  of  Sta.  Trinita  de' 
Monti.  Over  his  grave  in  front  of  the  chapel  of  the  Santissima  Annunziata 
his  nephews  placed  a  slab  with  a  laudatory  Latin  epitaph.  In  1798,  during 
the  occupation  of  Rome  by  the  French,  this  church  was  ransacked  by  the 
soldiery;  the  slab  disappeared,  and  for  nearly  forty  years  Claude's  grave  re- 
mained unmarked.  In  1836  the  French  Government  decided  to  remove  the 
great  artist's  remains  from  the  Trinita  de'  Monti  to  the  Church  of  St.  Luigi 
de'  Francesi,  near  the  Pantheon. — abridged  from  g,  grahame's  mono- 
graph ON  CLAUDE  LORRAIN  IN  *THE  PORTFOLIO' 


Cfje  art  of  Clautie  iLorram 

GEORGE    GRAHAME  'PORTFOLIO*    1895 

THE  man  who  first  substituted  for  the  golden  or  colored  chequer  back- 
ground in  picture  or  illuminated  letter  a  blue  sky  graduated  to  the  hori- 
zon may  rank  as  the  initiator  of  landscape-painting,  as  we  understand  that 
art.  This  was,  as  one  critic  has  remarked,  "the  crisis  of  change  in  the  spirit 
of  medieval  art,"  the  transition  from  the  symboHc  to  the  imitative  method. 
It  took  place  early  in  the  fifteenth  century.  Giotto  having  got  hold  of  some- 
thing sufficiently  like  a  mountain  or  a  tree  to  pass  for  such  in  the  eyes  of 
men  who  know  nothing  about  geology  or  botany  and  do  not  scrutinize  real 
trees  and  real  mountains,  several  generations  of  Italian  painters — Masaccio 
always  excepted — are  satisfied  to  go  on  painting  the  Giottesque  mountain 
and  tree  without  further  reference  to  nature.  While  landscape,  always  a  mere 
accessory,  is  being  thus  cultivated  by  the  Italians,  the  Flemish  artists,  Hubert 
and  Jan  van  Eyck,  take  up  the  tale  and  unfold  to  the  wondering  eyes  of  the 
northern  world  visions  of  Paradise  based  on  their  own  glimpses  into  southern 
lands.  Rome,  while  contributing  nothing  to  the  arts,  save  the  memory  of  her 
greatness,  became  the  meeting-place  of  all  schools.  Educated  in  this  art  center, 
Claude  united  the  Flemish  love  for  and  knowledge  of  perspective — Orizonte 
was  the  nickname  by  which  Claude  was  known  among  the  Flemish  artists  in 
Rome — to  the  atmospheric  touch  of  the  Venetians. 

Claude's  landscapes  are  seldom,  if  ever,  true  in  color;  and  yet,  contrast 
them  with  the  works  of  some  colorists.  Take  Corot,  for  instance.  Step  from 
Claude's  picture  of  the  Campo  Vaccino  in  the  Louvre  to  the  study  of  Corot, 
which  hangs  in  an  adjoining  room,  of  the  same  subject  from  another  point  of 
view.  Corot  is  infinitely  superior  to  Claude  in  his  analysis  of  each  separate 
fragment  of  the  color-mosaic  of  the  scene;  but  which  of  the  two  artists  has 

[368] 


CLAUDE     LORRAIN  33 

most  successfully  rendered  the  general  impression  of  that  scene  ?  Every  one 
who  loves  Rome  and  know^s  its  atmosphere  will,  I  think,  decide  in  favor  of 
Claude. 

Claude  has  sometimes  been  called  "the  father  of  modern  landscape  art;" 
but  that  title  might  be  claimed  for  Titian  and  other  Venetian  painters,  who 
before  Claude's  day  had  from  time  to  time  painted  landscape  pure  and  simple. 

Claude's  real  merit,  a  merit  as  to  the  magnitude  of  which  his  admirers  and 
his  detractors  are  at  one,  his  real  service  to  landscape  art,  lay  in  this:  that  he 
was  the  first  painter  to  grapple  seriously  with  the  problem  of  representing  the 
disc  of  the  sun.  Claude  took  up  the  idea  seriously  and  worked  it  out  success- 
fully. It  is  difficult  for  us  who  have  been  accustomed  to  see  the  sun  constantly 
represented  in  pictures  to  realize  how  great  a  revolution  he  thereby  wrought  in 
landscape  art. 

Claude's  influence  on  the  landscape  art  of  his  own  and  of  the  following  cen- 
turies was  enormous.  The  result  of  it  was  deplorable.  Landscape-painters 
went  to  Claude  instead  of  going  to  nature.  They  copied,  as  imitators  are  prone 
to  do,  all  the  defects  of  their  model;  they  failed  to  perceive  the  good  points. 
They  borrowed  all  Claude's  formulas  of  composition  and  never  moved  beyond 
them.    Nature  was  poured  like  jelly  into  a  mold. 

This  influence  left  its  mark  indelibly  on  Turner.  In  his  'Carthage' 
and  Claude's  'Embarkation  of  the  Queen  of  Sheba'  the  two  artists  have 
treated  kindred  subjects  in  a  kindred  way;  indeed.  Turner's  picture  shows 
at  every  point  the  influence  of  Claude.  In  both  we  have  the  same  well-bal- 
anced masses  of  pseudo-classic  architecture,  a  too  evidently  artificial  compo- 
sition, helped  out  by  the  judicious  disposition  of  the  figures,  a  similar  effect 
of  sunlight.  At  the  very  first  glance  we  see  the  superiority  of  Turner,  the 
limitation  of  Claude.  Claude  seems  like  a  caged  bird,  singing,  and  singing 
very  sweetly,  but  always  the  same  trill.  Turner  is  like  Shelley's  skylark. 
He  has  seen  all  heaven  and  all  earth,  and  caught  in  his  flight  the  real  radiance 
of  the  sun. 

It  is  in  the  rendering  of  lights,  particularly  of  the  direct  rays  of  the  sun,  that 
Turner  is  incontestably  Claude's  superior.  Claude  had  grasped  one  big  fact, 
the  warm  glow  of  sunlight,  and  repeated  it  ad  infinitum,  spreading  it  with  an 
even  touch  over  every  inch  of  canvas.  Turner  went  a  step  further.  He  ana- 
lyzed this  glow,  caught  from  nature  the  secret  of  the  subtle  silvery  tones,  the 
touches  of  cold  color  which  occur  even  in  the  warmest  effiects  of  light  and  help 
to  heighten  those  effects. 

To  Turner,  moreover,  sunlight  was  the  first,  the  essential  thing.  He  never 
hesitated  to  sacrifice  other  things  to  it.  Not  so  Claude.  With  a  complacency 
bordering  upon  dullness,  he  painted  square  and  fair  every  stone  of  his  edifices, 
and,  obedient  to  a  tradition  handed  down  from  the  early  Italian  masters 
through  Perugino  and  Raphael,  traced  carefully  and  mechanically,  as  it  were, 
with  compass  and  ruler,  every  line  of  his  architecture,  showing  thereby  that  he 
considered  the  object  illuminated  quite  a«  worthy  of  his  skill  as  the  light  it- 
self. 

Yet  when  all  has  been  said  that  can  be  said  about  Turner's  superiority  and 

[369] 


34  MASTERS     IN     ART 

Claude's  shortcomings,  there  remains  to  the  older  master  a  charm  of  serenity 
and  sweetness  which  it  is  impossible  to  gainsay.  Just  as  it  is  possible  to  ad- 
mire the  colossal  genius  of  Wagner  and  yet  listen  with  enjoyment  to  the  melody 
of  Mozart  or  Haydn,  so  too  we  may  give  Turner  all  his  due  without  shutting 
our  eyes  to  the  merits  and  beauties  of  Claude. 

SARAH    TYTLER  <THE    OLD    MASTERS    AND    THEIR    PICTURES' 

CLAUDE  LORRAIN'S  name  has  become  a  very  vexed  name  with  art 
critics.  There  was  a  time  when  he  had  an  unsurpassed  reputation  as  a 
landscape-painter.  The  possession  of  a  Claude  was  enough  to  confer  art  glory 
on  a  country  house,  and  possibly  for  this  reason  England,  in  public  and  private 
collections,  has  more  "Claudes"  than  are  held  by  any  other  country.  But 
Claude's  admirers,  among  whom  Sir  George  Beaumont,  the  great  art  critic  of 
his  generation,  took  the  lead,  have  had  their  day,  and,  if  they  have  not  by  any 
means  passed  away,  are  on  the  wane. 

The  wrathful  indignation  of  the  English  landscape-painter.  Turner,  at  the 
praise  which  was  so  glibly  lavished  on  Claude  helped  to  shake  the  English  art 
world's  faith  in  its  former  idol.  Mr.  Ruskin's  adoption  and  proclamation  of 
Turner's  opinion  shook  the  old  faith  still  further.  This  reversal  of  a  verdict 
with  regard  to  Claude  is  peculiar.  It  is  by  no  means  uncommon  for  the  deci- 
sion of  contemporaries  to  be  set  aside.  In  fact,  it  is  often  ominous  with  regard 
to  a  man's  future  fame  when  he  is  "  cried  up  to  the  skies  "  in  his  own  day.  The 
probability  may  be  that  his  easy  success  has  been  won  by  something  superfi- 
cial and  fleeting.  But  Claude's  great  popularity  has  been  in  another  genera- 
tion, and  with  another  nation.  English  taste  may  have  been  in  fault;  or  another 
explanation  seems  preferable — that  Claude's  sense  of  beauty  was  great,  with 
all  its  faults  of  expression,  and  he  gave  such  glimpses  of  a  beautiful  world  as 
the  gazers  on  his  pictures  were  capable  of  receiving,  which  to  them  proved 
irresistible. 

Mr.  Ruskin  has  been  hard  on  Claude,  whether  justly  or  unjustly  I  cannot 
pretend  to  say.  The  critic  denies  the  painter  not  only  a  sense  of  truth  in  art, 
but  all  imagination  as  a  landscape-painter.  "Of  men  of  name,"  Mr.  Ruskin 
writes,  "perhaps  Claude  is  the  best  instance  of  a  want  of  imagination,  nearly 
total,  borne  out  by  painful  but  untaught  study  of  nature,  and  much  feeling  for 
abstract  beauty  of  form,  with  none  whatever  for  harmony  of  expression."  Mr. 
Ruskin  condemns  in  the  stongest  terms"  the  mourning  and  murky  olive  browns 
and  verdigris  greens  in  which  Claude,  with  the  industry  and  intelligence  of 
a  Sevres  china-painter,  drags  the  laborious  bramble-leaves  over  his  childish 
foreground."  But  Mr.  Ruskin  himself  acknowledges,  with  a  reservation, 
Claude's  charm  in  foliage,  and  pronounces  more  conditionally  his  power, 
when  it  was  at  its  best,  in  skies — a  region  in  which  the  greater,  as  well  as  the 
less,  Poussin  was  declared  to  fail  signally.  "A  perfectly  genuine  and  untouched 
sky  of  Claude,"  Mr.  Ruskin  writes,  "is  indeed  most  perfect,  and  beyond  praise 
in  all  qualities  of  air;  though  even  with  him  I  often  feel  rather  that  there  is  a 
great  deal  of  pleasant  air  between  me  and  the  firmament,  than  that  the  fir- 
mament itself  is  only  air." 

[370] 


u 


CLAUDE     LORRAIN  35 

W.    C.    BROWNELL  'FRENCH    ART* 

IT  seems  hardly  fanciful  to  say  that  the  depreciation  of  Claude  by  Mr. 
Ruskin,  who  is  a  landscape-painter  himself,  using  the  medium  of  words  in- 
stead of  pigments,  is,  so  to  speak,  professionally  unjust. 

"Go  out,  in  the  springtime,  among  the  meadows  that  slope  from  the  shores 
of  the  Swiss  lakes  to  the  roots  of  their  lower  mountains.    There,  mingled  with 
the  taller  gentians  and  the  white  narcissus,  the  grass  grows  deep  and  free;  and 
as  you  follow  the  winding  mountain  paths,  beneath  arching  boughs  all  veiled         \  {\ 
and  dim  with  blossom — paths  that  forever  droop  and  rise  over  the  green  banks  i  '  '' 

and  mounds  sweeping  down  in  scented  undulation,  steep  to  the  blue  water,  | 

studded  here  and  there  with  new-mown  heaps,  filling  the  air  with  fainter  sweet- 
ness— look  up  towards  the  higher  hills,  where  the  waves  of  everlasting  green 
roll  silently  into  their  long  inlets  among  the  shadows  of  the  pines," 

Claude's  landscape  is  not  Swiss,  but  if  it  were  it  would  awaken  in  the  be- 
holder a  very  similar  sensation  to  that  aroused  in  the  reader  of  this  famous 
passage.  Claude  indeed  painted  landscape  in  precisely  this  way.  He  was  per- 
haps the  first — though  priority  in  such  matters  is  trivial  beside  preeminence — 
who  painted  effects  instead  of  things.  Light  and  air  were  his  material,  not 
ponds  and  rocks  and  clouds  and  trees  and  stretches  of  plain  and  mountain 
outlines.  He  first  generalized  the  phenomena  of  inanimate  nature,  and  in  this 
he  remains  still  unsurpassed.  But,  superficially,  his  scheme  wore  the  classic 
aspect,  and  neither  his  contemporaries  nor  his  successors,  for  over  two  hun- 
dred years,  discovered  the  immense  value  of  his  point  of  view,  and  the  puis- 
sant charm  of  his  way  of  rendering  nature. 

C.     H.    STRANAHAN  'A     HISTORY    OF    FRENCH    PAINTING* 

LIKE  Poussin,  Claude  had  the  feeling,  caught  indeed  from  Poussin's  ad- 
^  vice,  that  the  dignity  of  classic  structure  was  necessary  to  his  scene.  At 
the  same  time,  study  led  him,  more  profoundly  than  all  other  masters,  to  pen- 
etrate the  secrets  of  nature.  His  thorough  study  of  nature  is  abundantly  at- 
tested by  his  sketches.  Reynolds  said  there  would  be  another  Raphael  before 
there  would  be  another  Claude.  His  three  great  charms  are:  the  unlimited 
space  expressed  in  his  pictures,  effected  by  the  use  of  soft  vapor  to  define  sep- 
arate distances,  and  equaled,  perhaps,  only  by  Corot;  the  effects  of  air,  shown 
in  veiling  and  subduing  outlines  and  tints,  as  well  as  in  causing  the  foliage  to 
quiver,  light  clouds  to  sweep  across  the  sky,  and  water  to  ripple;  and  the  bril- 
liant effects  of  light  on  a  charming  coloring. 

But  far  as  the  eye  may  wander  away  into  space  in  Claude's  pictures,  it  is 
always  able  to  retrace  its  wanderings  to  a  definite  and  beautiful  foreground, 
where  all  is  repose  and  serenity,  crowned  with  some  one  of  the  varied  mys- 
teries of  light;  the  ethereal  drapery  of  aerial  perspective  or  the  more  tangible, 
though  still  dreamy,  mist  of  sunrise  or  sunset.  He  painted  nature's  worship, 
the  morning  and  evening  hymn  of  praise  rising  to  heaven,  unperceived  of  un- 
anointed  eyes. 

[371] 


36  MASTERS    IN    ART 

FRANZ    KUGLER  'HISTORY    OF    PAINTING' 

THESE,  however,  are  but  the  external  features  of  Claude's  pictures,  and 
they  form  only  the  framework  by  means  of  which  he  sets  before  us  the 
true  creative  power  of  nature,  shown,  as  in  the  works  of  G.  Poussin,  in  the  ef- 
fect of  air,  and  still  more  in  the  brilliant  and  vivid  workings  of  light.  The 
quivering  of  the  foliage,  the  silent  sweep  of  Hght  clouds  across  the  clear  sky, 
the  ripple  of  the  lake  or  the  brook,  the  play  of  the  waves  of  the  sea,  the  pure 
breezes  of  morning,  the  soft  mists  of  evening,  and  the  glistening  dew  upon 
the  grass  are  all  truth  itself,  and  all  seem  instinct  with  joyous  life.  A  soft 
vapor  separates  one  distance  from  another,  and  allows  the  eye  to  wander 
into  boundless  space,  only  to  be  recalled  by  the  warmth  and  richness  of  the 
foreground.  Light  pervades  the  whole,  and  every  object  breathes  a  blessed 
serenity  and  repose.  Claude  paints  the  forms  of  earth,  indeed,  but  he  veils 
them  in  an  ethereal  drapery,  such  as  is  only  at  moments  visible  to  our  eyes; 
he  paints  that  worship  of  the  Creator  which  nature  solemnizes,  and  in  which 
man  and  all  his  works  are  only  included  as  accessories. 


C|)e  Woxk^  of  Clautie  ilorrain 

DESCRIPTIONS    OF    THE     PLATES 
«THE    ANNUNCIATION*  PLATE    1 

AS  in  most  of  Claude's  historical  or  mythological  subjects,  the  story-telling 
./A.  portion  of  this  picture,  from  which  it  has  received  its  title,  is  a  distinctly 
secondary  matter.  The  landscape  is  of  first  importance;  and  although  the  fig- 
ures take  their  place  in  the  general  composition,  they,  as  well  as  the  story  they 
are  intended  to  convey,  are  subordinated  to  the  pictorial  quality  at  which 
Claude  always  aimed. 

The  subject  is  supposed  to  be  either  'The  Annunciation'  or  'The  Angel 
Appearing  to  Hagar,'  and  it  is  of  little  moment  which  we  choose,  for  the  main 
interest  for  us  lies  in  the  scene  rather  than  in  the  episode.  The  figures  in  the 
foreground  to  the  left  are  so  placed  as  to  balance  the  larger  mass  of  trees  at 
the  right,  which  cover  a  great  portion  of  the  picture.  In  the  middle  ground  is 
a  broad,  winding  river  to  which  the  shores  slope  gradually,  over  which  a  sin- 
gle-arched bridge  conducts  to  a  high  rock  occupying  the  center  of  the  middle 
distance,  and  which  is  surmounted  by  a  castle  or  town.  The  view  is  bounded 
by  low  mountains. 

This  picture  is  recorded  in  the  'Liber  V-^ritatis'  as  No.  io6,  and  was 
painted  in  1654  or  1655  "pour  Paris."  It  came  into  the  possession  of  the  Na- 
tional Gallery  in  London  upon  its  establishment  in  1826,  with  the  collection 
of  Sir  George  Beaumont,  who  had  promised  to  donate  all  his  pictures  to  the 
nation  as  soon  as  the  government  should  allot  a  proper  place  for  their  recep- 

[3-2] 


CLAUDE     LORRAIN  37 

tion.    This  picture  was  however  so  great  a  favorite  with  Sir  George  that  he  re- 
quested permission  to  have  it  returned  to  him  during  his  lifetime. 

It  is  painted  on  canvas,  and  is  only  one  foot  eight  inches  high  by  one  foot 
five  inches  wide. 

«A     SEAPORT    AT     SUNSET"  PLATE    II 

THIS  seaport,  sometimes  known  as  'The  Ancient  Port  of  Messina'  and 
sometimes  as  'The  Combatants,'  from  the  group  of  figures  struggling  in 
the  foreground,  represents  a  harbor  with  Claude's  favorite  perspective  of 
porticos  and  palaces,  amongst  which  appears  the  Villa  Medici  (now  the 
French  Academy  in  Rome).  The  whole  canvas  is  illuminated  with  a  ruddy 
glow  of  light  from  the  setting  sun,  which  is  about  to  dip  below  the  horizon. 
Here  and  there  the  color  has  gone  in  patches,  but  not  sufficiently  to  mar  the 
fine  general  effect. 

This  picture  was  one  of  four  painted  by  order  of  Pope  Urban  vii.  (Maffei 
Barberini).  The  order  was  the  result  of  Claude's  first  interview  with  the  Pope, 
to  whose  attention  he  had  been  brought  by  Cardinal  Bentivoglio,  one  of  the 
painter's  former  patrons.  Together  with  'The  Village  Dance,'  another  of  the 
four,  and  also  in  the  Louvre,  it  bears  the  inscription  "claudio  inv.  rom^ 
1639."    These  two  are  the  master's  earliest  dated  works  in  oil. 

A  replica,  with  the  composition  reversed,  is  in  the  collection  of  the  Duke  of 
Northumberland,  while  another  similar  subject  (No.  28  of  the  'Liber  Verita- 
tis')  is  in  the  Uffizi  Gallery  in  Florence.  This  is  No.  14  of  the  'Liber  Veritatis,' 
and  measures  four  feet  three  inches  high  by  four  feet  six  inches  long. 

'EMBARKATION    OF    THE    QUEEN    OF    SHEBA'  PLATE     III 

THE  Queen  of  Sheba  and  her  attendants  are  descending  a  broad  flight  of 
steps  upon  the  right  of  the  picture  to  enter  a  boat  which  is  waiting  to  re- 
ceive them,  while  a  ship  lies  at  anchor  near  the  center  of  the  port. 

The  similarity  of  subject  and  treatment  in  Claude's  seaports  is  shown  by 
comparing  this  picture  with  the  preceding  one  and  with  'The  Landing  of  Cl«- 
opatra  at  Tarsus'  and  'Ulysses  Restoring  Chryseis  to  Her  Father.'  In  all  four 
the  arrangement  and  composition  are  the  same,  the  figures  grouped  in  the  fore- 
ground in  complicated  but  carefully  studied  relation;  the  rows  of  classic  build- 
ings in  sharp  perspective  upon  one  or  both  sides;  the  shipping  and  buildings 
of  medieval  architecture  in  the  middle  distance;  and  the  sea,  marked  by  a  dis- 
tant horizon  and  reflecting  the  rays  of  the  sun  which  hangs  just  above  the  hori- 
zon line,  in  each  case  occupying  the  center  of  the  picture.  So  striking  is  this 
similarity  that  one  is  tempted  to  accuse  the  artist  of  employing  a  formula.  But 
his  mastery  of  the  formula  and  the  never-ceasing  charm  of  varied  detail  are 
sufficient  answer  to  such  a  charge. 

This  picture  is  represented  in  morning  light;  the  whole  scene  is  suffused 
with  it;  there  is  not  a  single  discordant  note  to  mar  the  fresh  tranquillity;  every 
figure  is  enveloped  in  an  atmosphere  which  pervades  and  unifies  the  whole 
composition. 

In  1648  Claude  painted  this  picture  for  the  Due  de  Bouillon  (and  it  is  known 

[373] 


38  MASTERSINART 

as  the  "Bouillon  Claude"),  in  whose  family  it  remained  until  the  French  Rev- 
olution. It  was  then  sold  in  Paris  for  eight  thousand  pounds  to  Mr.  Angerstein, 
whose  collection  was  purchased  in  1824  by  the  British  Government,  and 
formed,  together  with  that  of  Sir  George  Beaumont  and  others,  the  nucleus  of 
the  National  Gallery. 

This  picture  is  very  like  but  not  an  exact  facsimile  of  that  in  the  Doria  Gal- 
lery in  Rome,  and  is  generally  treated  as  a  replica.  It  bears  the  inscription 
"La  Reine  de  Saba  va  trover  Salomon."  It  is  numbered  114  in  the  'Liber 
Veritatis,'  and  measures  four  feet  eleven  inches  high  by  six  feet  seven  inches 
long. 

•LANDING    OF    CLEOPATRA    AT    TARSUS'  PLATE    IV 

CLEOPATRA,  whose  treasure-laden  galleys  are  moored  close  to  the  shore, 
has  stepped  out  of  a  richly  caparisoned  boat  onto  a  quay  strewn  with 
fragments  of  sculpture.  Leaning  on  the  arm  of  a  negro,  and  followed  by  her 
handmaidens,  she  advances  to  meet  Mark  Antony,  who  comes  forward  from 
a  lofty  palace  portal  with  attendant  pages.  The  figures  are  not  fortunate.  In- 
deed, they  look  like  what  they  are, — men  and  women  of  the  seventeenth  cen- 
tury playing  in  a  classical  charade.  Lady  Dilke  believes  the  figures  to  have 
been  painted  by  Filippo  Lauri.  But  these  shortcomings  cannot  destroy  the 
interest  or  mar  the  beauty  of  the  wonderful  cloud-flecked  sky,  iridescent  with 
the  light  of  a  sun  new  risen,  and  still  partially  veiled  by  the  morning  mist,  and 
of  the  blue  waters — barred  with  a  streak  of  silver  light — whose  wavelets 
come  lapping  up  against  the  galleys  and  the  marble  quays. 

This  picture  is  in  excellent  preservation  and  is  esteemed  one  of  Claude's 
finest  seaports.  It  is  full  of  life,  and  the  execution  is  bold  and  confident.  It 
has  no  date  or  inscription,  but  is  recorded  in  the  'Liber  Veritatis'  as  No.  63, 
and  was  painted  in  1646  for  Cardinal  Angelo  Giorio,  formerly  tutor  of  the 
nephews  of  Pope  Urban  viii.  It  measures  three  feet  eleven  inches  high  by 
five  feet  seven  inches  long. 

•MERCURY    AND    AGLAUROS'  PLATE    V 

THIS  picture,  known  as  'Mercury  and  Aglauros'  or  as  'Landscape  with 
Arcadian  Shepherds,'  was  painted  by  Claude  in  1642.  The  figures  are 
believed  to  have  been  the  work  of  Filippo  Lauri,  who,  although  only  nineteen 
years  old  at  this  time,  is  known  to  have  assisted  Claude  upon  many  of  his 
pictures. 

Herr  Bode  purchased  this  picture  for  the  Berlin  Royal  Museum  at  the  sale 
of  the  Marquis  of  Ganay  at  Paris  in  1880.  It  was  previously  in  the  Pourtales 
Collection,  sold  in  Paris  in  1865.  It  measures  three  feet  two  inches  high  by 
four  feet  three  inches  long. 

«THE    FLIGHT    INTO    EGYPT'  PLATE    VI 


J 


OHN  SMITH,  in  the  'Catalogue  Raisonne,'  gives  the  following  description 
of  this  picture  under  the  title  of  'A  Shepherdess  Listening  to  a  Shepherd 
Playing  on  a  Pipe.'    As  will  be  seen  by  comparison  with  the  reproduction, 

[374] 


CLAUDE     LORRAIN  39 

there  are  some  slight  discrepancies,  and  the  details  described  in  the  distant 
portion  of  the  picture  are  so  dim  and  indistinct  as  not  t^  be  discernible. 

"The  landscape  represents  a  delightfully  wooded  country,  having  the  ap- 
pearance on  the  left  of  a  recent  inundation,  a  large  portion  being  covered  with 
water  which,  distributed  into  streams,  rolls  rapidly  over  broken  banks  flow- 
ing to  the  front-ground,  where  it  branches  off  through  a  narrow  channel  to  the 
opposite  side.  In  this  part  is  a  young  woman,  kneeling  on  a  stone,  filling  a 
pitcher  with  water  from  a  wooden  spout,  at  the  side  of  the  bank,  near  which 
sits  a  shepherdess  with  a  crook  listening  to  the  music  of  a  pipe  played  by  a 
peasant,  who  stands  before  her.  A  number  of  cows  and  goats  are  distributed 
around  them.  Considerably  beyond  these,  and  close  to  the  left,  is  introduced 
'The  Flight  of  the  Holy  Family.'  From  hence  the  eye  looks  among  clusters  of 
trees  of  various  kinds;  and  in  the  more  distant  landscape,  towards  the  left,  may 
be  observed  a  castle,  at  the  side  of  a  mountain,  and  buildings  on  its  summit;  a 
bridge  composed  of  several  arches,  and  a  very  remote  town  are  visible  at  the 
base  of  the  cliffs.  The  effect  is  that  of  a  fine,  clear  morning.  The  picture  was 
painted  for  M.  Parasson  at  Lyons,  and  afterwards  came  into  the  possession  of 
Count  Nosse." 

This  picture  is  represented  by  No.  i  lo  of  the  'Liber  Veritatis,'  and  is  three 
feet  seven  and  a  half  inches  high  by  four  feet  nine  inches  long.  A  duplicate  or 
replica  is  in  the  collection  of  Mr.  Thomas  Hope. 

<THE    MILL'  PLATE    VII 

THE  MILL '  is  generally  conceded  to  be  one  of  Claude's  finest  pictures. 
It  is  certainly  one  of  his  most  celebrated  ones.  It  shows  him  at  the  height 
of  his  power.  As  compared  with  '  The  Temple  of  Apollo  at  Delos, '  the  composi- 
tion may  appear  more  forced  and  less  beautiful,  but  these  shortcomings  are  com- 
pensated by  a  freshness  and  the  perfume  of  spring,  and  an  incomparable  at- 
mosphere of  youth  and  sparkUng  gaiety.  There  are,  indeed,  in  the  foreground 
enough  figures,  accessories  to  the  principal  group,  to  compose  a  dozen  pic- 
tures, a  fact  which  has  excited  the  sarcasm  of  Ruskin  and  other  critics;  but 
this  does  not  materially  detract  from  the  beauty  of  the  picture  as  a  whole. 

In  the  center  a  broad  river,  arrested  in  its  course  by  the  dam  of  the  mill 
which  stands  at  the  left,  forms  a  small  lake,  whose  water  of  turquoise  blue 
reflects  the  sunlight,  and  is  shut  in  by  the  gray  and  misty  banks.  Upon  the 
gray  horizon  distant  mountains  gradually  assume  the  tone  of  the  sky,  and 
merge  into  a  blue  as  strong  as  that  of  the  water  below.  In  the  foreground  the 
dancing  figures  are  dressed  in  red  and  blue,  while  in  the  center  a  single  figure 
robed  in  white  gives  a  strong  point  of  accent. 

This  picture  was  painted  in  1648  for  Prince  Camillo  Pamfili,  and  still  re- 
mains in  the  Doria  Palace  (formerly  the  Pamfili  Palace).    It  is  represented  by  . 
No.  113  of  the  'Liber  Veritatis,'  and  a  replica  was  painted  by  Claude  for  the 
Due  de  Bouillon  which  now  hangs  in  the  National  Gallery  in  London,  and  is 
sometimes  known  as  'The  Marriage  of  Isaac  and  Rebecca.' 

The  picture  measures  four  feet  one  inch  high  by  six  feet  seven  inches  long. 

[375] 


40  MASTERSINART 

'NOON,'    OR    'THE    FLIGHT    INTO    EGYPT'  PLATE    VIII 

THE  'Noon,'  otherwise  known  as  'The  Flight  into  Egypt,'  is  one  of  four 
pictures  now  in  the  Hermitage  Gallery  at  St,  Petersburg.  The  scene  is 
one  of  peaceful  serenity,  and  is  among  Claude's  most  charming  compositions. 
The  Holy  Family  is  placed  at  the  right  of  the  foreground,  surrounded  by  a 
group  of  domestic  animals.  A  bridge  occupies  the  center  of  the  picture,  be- 
yond which  are  a  mass  of  trees  and  a  ruined  Corinthian  temple.  In  the  middle 
distance  a  two-arched  bridge  crosses  a  river  leading  to  an  arm  of  the  sea 
bounded  by  a  distant  shore,  with  low  mountains  upon  the  horizon. 

This  picture  was  painted  about  1661  "for  Antwerp," as  the  inscription  upon 
No.  154  of  the  'Liber  Veritatis'  indicates.  It,  with  its  three  companions, 
'Morning,'  'Evening,'  and  'Night,'  formerly  adorned  the  residence  of  the 
Empress  Josephine  at  Malmaison,  whither  it  was  taken  by  Napoleon  from  the 
Gallery  of  Cassel.  In  18 14  the  Czar  Alexander  bore  them  away  to  St.  Peters- 
burg as  his  prize.  The  picture  measures  three  feet  nine  inches  high  by  five 
feet  one  inch  long. 

<THE    TEMPLE    OF    APOLLO    AT    DELOS"  PLATE    IX 

IADY  DILKE  says,  "This  is  perhaps  Claude's  most  beautiful  landscape, 
->  reserved  and  sober,  broad  and  free  in  handling,  and  of  an  extremely  fine 
silvery  tone."  Sweetser  also  says  of  it,  "One  of  Claude's  noblest  works,  re- 
plete in  beauty  and  variety,  and  flooded  with  fresh  and  sparkling  air."  In  the 
foreground  a  group  of  priests  and  priestesses  is  seen,  leading  a  sacrificial  bull 
towards  the  temple  of  Apollo.  Beyond  there  is  a  vast  expanse  of  country  dotted 
with  groves  and  buildings,  intersected  by  rivers,  and  bounded  by  a  broad  sea. 
A  magical  light  suffuses  the  picture.  The  foreground  is  less  dark  and  somber 
than  is  customary  with  Claude,  while  nothing  detracts  from  the  delicate  charm 
of  the  distance;  the  enchanted  country  which  leads  toward  the  setting  sun 
shows  a  world  of  charming  details,  finally  lost  in  the  waters  of  the  river  which 
flows  towards  the  distant  sea.  The  great  mass  of  trees  which  occupies  the  cen- 
ter contrasts  its  shadows  with  the  brilliant  light  of  the  distance  and  the  sky. 
This  is  a  kind  of  contrast  for  which  the  painter  had  a  great  fondness,  and 
which  he  often  repeated. 

The  picture  was  painted  for  Prince  Camillo  Pamfili,  and  still  remains  in 
the  Doria  Gallery.  It  is  represented  by  No.  119  of  the 'Liber  Veritatis,' and 
measures  four  feet  one  inch  high  by  six  feet  seven  inches  long. 

<ULYSSES    RESTORING    CHRYSEIS    TO    HER    FATHER'  PLATE    X 

THE  'Ulysses  Restoring  Chryseis  to  Her  Father'  is  another  of  Claude's 
typical  seaports.  It  was  painted,  together  with  'The  Ford,'  also  in  the 
Louvre,  for  the  Due  de  Liancourt.  The  figures  are  supposed  to  have  been 
painted  by  Filippo  Lauri,  who  cooperated  with  Claude  upon  many  of  his  pic- 
tures. Despite  the  influence  of  time,  this  is  a  fine  canvas.  It  is  numbered  80 
in  the  'Liber  Veritatis,'  and  measures  three  feet  eleven  inches  high  by  four 
feet  eleven  inches  long. 

[376] 


CLAUDE     LORRAIN  ,.    .,  '  ' "  L   ^^'^V 

A    LIST    OF    SOME     OF    THE     MORE    NOTABLE    PAINTINGS    BY    CLAUDE    LORRAIN 
WITH     THEIR    PRESENT    LOCATIONS 

PUBLIC    COLLECTIONS 

yiUSTRIA-HUNGARY.  Innsbruck  Museum:  Diana;  Landscape  —  Budapest 
JLjLGallery:  The  Ford  —  Vienna  Academy:  Two  Landscapes  —  BELGIUM.  Brus- 
sels Museum:  ^neas  hunting  the  Stag — DENMARK.  Copenhagen,  Christians- 
BORG:  Landscape  —  ENGLAND.  Hampton  Court,  Royal  Gallery:  Seaport  —  Lon- 
don, Buckingham  Palace:  Rape  of  Europa  —  London,  Dulwich  Gallery:  Flight 
into  Egypt;  Jacob  and  Laban;  Embarkation  of  St.  Paula;  Seaport;  Two  Landscapes  — 
London,  National  Gallery:  Cephalus  and  Procris;  Seaport;  David  at  the  Cave  of 
Adullam;  Marriage  of  Isaac  and  Rebecca;  Embarkation  of  the  Queen  of  Sheba  (Plate  iii); 
Narcissus  and  Echo;  Embarkation  of  St.  Ursula;  Death  of  Procris;  The  Annunciation 
(Plate  i);  Anchises  and  ./Eneas  at  Delos;  Goatherd  and  Goats  —  London,  South  Ken- 
sington Museum:  Landscape  —  Windsor,  Royal  Gallery:  TheFord;  ViewofTivoli; 
Two  Seaports;  Claude  Sketching  —  FRANCE.  Bordeaux  Museum:  Landscape  — 
Grenoble  Museum:  Seaport;  ViewofTivoli  —  Paris,  Louvre:  The  Campo  Vaccino; 
Rustic  Dance;  Samuel  Anointing  David;  The  Ford;  Siege  of  La  Rochelle;  Forcing  the 
Pass  of  Susa;  Landing  of  Cleopatra  at  Tarsus  (Plate  iv);  Ulysses  Restoring  Chryseis  to 
her  Father  (Plate  x);  A  Seaport  at  Sunset  (Plate  li);  Two  Landscapes;  Five  Seaports 
—  Rennes  Museum:  Landscape  —  Tarbes  Museum:  Village  Fete  —  GERMANY. 
Augsburg  Museum:  Landscape — Berlin,  Royal  Museum:  Mercury  and  Aglauros 
(Plate  v)  —  Dresden,  Royal  Gallery:  Flight  into  Egypt  (Plate  vi);  Polyphemus,  Acis, 
and  Galatea  —  Gotha  Gallery:  Marine  View — Munich,  Pinakothek:  Expulsion  of 
Hagar;  The  Angel  appearing  to  Hagar;  Tlie  Ford;  Seaport  —  Strasburg  Museum: 
Venus  —  Stuttgart  Gallery:  Two  Landscapes — HOLLAND.  The  Hague  Gal- 
lery:   Landscape  —  ITALY.     Florence,    Uffizi    Gallery:    Seaport;    Landscape  — 

Naples,  Royal  Museum:  Diana  Reposing,  or  Egeria;  Seaport  —  Rome,  Barberini 
Palace:  Castel  Gandolfo  and  Lake  Albano  —  Rome,  Doria  Gallery:  The  Temple 
of  Apollo  at  Delos  (Plate  ix);  The  Mill  (Plate  vii);  Mercury  Stealing  the  Cattle  of  Ad- 
metus;  Cephalus  and  Procris,  or  Diana  Hunting — Turin,  Palazzo  Reale:  Two  Land- 
scapes—  RUSSIA.  Owned  by  Prince  Youssoupoff:  Rape  of  Europa;  Fight  on  a 
Bridge  —  St.  Petersburg,  Hermitage  Gallery:  Morning,  or  Jacob  and  Rachel;  Noon, 
or  The  Flight  into  Egypt  (Plate  viii);  Evening,  or  Tobit  and  the  Angel;  Night,  or  Jacob 
wrestling  with  the  Angel;  Apollo  and  the  Cumaran  Sybil;  The  Journey  to  Emmaus; 
Apollo  and  Marsyas;  The  Piping  Shepherdess;  Man  angling  and  Ship  with  French  Flag; 
Ulysses  visiting  Lycomedes;  Two  Seaports — SPAIN.  Madrid,  Royal  Museum: 
Burial  of  St.  Sabina;  The  Finding  of  Moses;  Embarkation  of  St.  Paula;  Tobit  and  the 
Archangel  Raphael;  Hermit  in  Prayer;  The  Penitent  Magdalen;  Temptation  of  St.  An- 
thony; The  Ford;  Two  Landscapes  —  SWEDEN.  Stockholm,  Royal  Museum: 
Landscape,  with  Arch  of  Constantine  and  Coliseum;  Landscape. 

private  collections 

ENGLAND.  Apsley  House,  Owned  by  the  Duke  of  Wellington:  Embarka- 
tion of  St.  Paula  —  Owned  by  T.  Baring,  Esc^:  Landscape  —  Belvoir  Castle, 
Owned  by  the  Duke  of  Rutland:  Apollo  and  the  Cuma;an  Sybil  —  Bridgewater 
House,  Owned  by  the  Earl  of  Ellesmere:  Landscape;  Metamorphosis  of  the  Apuleian 
Shepherd;  Moses  and  the  Burning  Bush;  Demosthenes  on  the  Seashore  —  Corsham  House, 
Owned  by  Lord  Methuen  :  St.  John  in  the  Desert  —  Owned  by  the  Duke  of  Devon- 
shire: Mercury  and  Battus  —  Dorchester  House,  Owned  by  R.  S.  Holford,  Esc^: 
Landscape;  The  Sacrifice  —  Grosvenor  House,  Owned  by  the  Duke  of  Westminster: 
The  Rise  of  the  Roman  Empire;  The  Decline  of  the  Roman  Empire;  The  Worship  of  the 
Golden  Calf;  The  Sermon  on  the  Mount  —  Holkham,  Owned  by  the  Earl  of  Leices- 
ter: Perseus  —  Owned  by  the  Earl  of  Northbrook:  Jacob  and  Laban;  Mill  on  the 
Tiber;  Two  Landscapes  —  Longford  Castle,  Owned  by  the  Earl  of  Radnor:  Rise 
of  the  Roman  Empire;  Decline  of  the  Roman  Empire  —  Petworth  House,  Owned  by 

[377] 


'4?  MASTERS    IN    ART 

*  " 

THE  Earl  of  Leconfield:  Jacob  and  Laban  —  Owned  by  the  Earl  of  Portarling- 
TON:  Embarkation  of  St.  Paula  —  Owned  by  Lord  Wantage:  The  Enchanted  Castle,  or 
Psyche. 


Clautre  ilorratn  3Btbltograp|)p 

A    LIST    OF     THE    PRINCIPAL    BOOKS    AND    MAGAZINE    ARTICLES 
DEALING    WITH     CLAUDE    LORRAIN 

THE  most  complete  study  of  Claude  as  yet  published  is  Lady  Dilke's  (Mrs.  E.  F.  S. 
Pattison)  <  Claude  Lorrain,  sa  vie  et  ses  oeuvres'  (Paris,  1884).  The  best  English 
account  is  that  of  G.  Grahame  in  'The  Portfolio'  (London,  1895).  O.  J.  DuUea's 
'Claude  Gellee  le  Lorrain'  (London,  1887)  and  M.  F.  Sweetser's  'Claude  Lorrain' 
(Boston,  1878)  rank  next  in  completeness. 

ALEXANDRE,  A.  Histoire  populaire  de  la  peinture:  ecole  francjaise.  Paris  [1893]  — 
/x  Armelin,  G.  Lorrain  (Claude  Gelee)  (in  La  Grande  Encyclopedie).  Paris  [1886] 
—  Baldinucci,  F.  Notizie  di  Professor!  del  Disegno.  Florence,  168  i-i  728 — Blanc,  C. 
Histoire  des  peintres  de  toutes  les  fecoles.  Paris,  1862  —  Brownell,  W.  C.  French  Art. 
New  York,  190X  — Cook,  E.  T.  A  Popular  Handbook  to  the  National  Gallery.  Lon- 
don, 1897  —  DiLKE,  E.  F.  S.  Claude  Lorrain,  sa  vie  et  ses  oeuvres,  d'apres  des  documents 
inedits.  Paris,i884  —  Dullea,  O.  J.  Claude  Gellee  le  Lorrain  London,i887  —  D.,O.J. 
Claude  Gellee  (in  Bryan's  Dictionary  of  Painters  and  Engravers).  London,  1903  —  Du- 
PLESSis,  G.  Eaux-fortes  de  Claude  le  Lorrain,  Paris  [1879]  — Earlom,  R.  (Engraver). 
The  Liber  Veritatis  of  Claude  le  Lorrain.  London,  1777  —  Eastlake,  C.  L.  Notes  oa 
the  Principal  Pictures  in  the  Louvre  Gallery.  London,  1883  —  Hamerton,  P.  G.  Etch- 
ing and  Etchers.  London,  1868  —  Hazlitt,  W.  Criticisms  on  Art.  London,  1853  — 
James,  R.  N.  Painters  and  Their  Works.  London,  1896  —  Jameson,  A.  B.  Private 
Galleries  of  Art  in  London.  London,  1844  —  Kingsley,  R.  G.  A  History  of  French 
Art.  London,  1899  —  Kugler,  F.  T.  Handbook  of  Painting:  The  German,  Flemish, 
and  Dutch  Schools.  Remodeled  by  Dr.  Waagen,  revised,  and  in  part  rewritten  by  J.  A. 
Crowe.  London,  1874 — Lafenestre,  G.,  and  Richtenberger,  E.  Le  Musee  National 
du  Louvre.  Paris,  1893  —  Larousse,  P.  A.  Lorrain  (Claude  Gelee)  (in  Grand  diction- 
naire  universel).  Paris,  1866-90  —  Merson,  O.  La  Peinture  fran^aise  au  xviie  siecle  et 
au  xviii=.  Paris  [1900]  —  Poynter,  Sir  E.  J.  The  National  Gallery.  London,  1899— 
1900 — Regnet,  C.  a.  Claude  Lorrain  (in  Dohme's  Kunst  und  Kvinstler,  etc.).  Leipsic, 
1880  —  Robertson,  J.  F.  The  Great  Painters  of  Christendom.  London,  1877  —  Ros- 
setti,  W.  M.  Claude  of  Lorraine  (in  Encyclopaedia  Britannica).  Edinburgh,  1883  — 
Ruskin,  J.  Modern  Painters.  London,  1851 — Sandrart,  J.  von.  Academia  Nobilis- 
simae  Artis  Pictoriae.  Nuremburg,  1683 — Smith,  J.  Catalogue  Raisonne.  London, 
1829-42 — Stranahan,  C.  H.  a  History  of  French  Painting.  New  York,  1895  — 
Sweetser,  M.  F.  Claude  Lorrain.  Boston,  1878 — Tytler,  S.  The  Old  Masters  and 
Their  Pictures.  Boston,  1905  — Villot,  F.  Notice  des  tableaux  exposes  dans  les  galeries 
du  Musee  National  du  Louvre;  3™=  partie:  ecole  fran9aise.  Paris,  1882  —  Waagen,  G.  F. 
Treasures  of  Art  in  Great  Britain.  London,  1854 — Wyzewa,  T.  de,  and  Perrkau,  X. 
Les  Grands  peintres  de  la  France.    Paris,  1890. 

magazine  articles 

L'ART,  1876:  P.  G.  Hamerton;  Turner  et  Claude  Lorrain.  1882:  E.  F.  S.  Dilkej 
Deux  Documents  inedits.  1883:  E.  F.  S.  Dilke;  Les  Dessins  de  Claude  Lorrain  — 
Gazette  des  Beaux-Arts,  1861:  F.  del  Tal;  Le  Livre  des  Feux  d' Artifice  de  Claude 
Gellee.  1884:  E.  BonnafFe;  Le  Mausolee  de  Claude  de  Lorraine  —  Le  Peintre  Graveur 
Fran^ais,  1871:  E.  Meaume;  Claude  Gellee  dit  le  Lorrain — Portfolio,  1895: 
G,  Grahame;  Claude  Lorrain — Revue  des  deux  Mondes,  1884:  t.  Michel;  Claude 
Lorrain. 

[378] 


MASTERS     IN    ART 


XIV     LESSONS 

Guided  by  a  Topic  Book. 


THE  cultivated  American  should  become 
acquainted  with  the  art  of  his  own  country. 
This  can  be  done  in  your  own  home,  satisfac- 
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WITH   TOPIC   BOOK   No.  VI. 

Subject  of  first  lesson:    "Artistic  Resources  of 
Our  Country."    This  alone  is  worth  knowing. 

ILLUSTRATIONS 
40  selected  Raphael  Prints,  4x5,  outline  the  course. 
6  dozen  4x5  Raphael  Prints  give  further  light. 
16  dozen   miniature    size    add    further   examples    of 
beauty. 

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Without  exception  the  finest  publication  of  the 
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Georgian  Period   #f    100  Plates 


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